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0:00:00 > 0:00:02- In 1724, - Bach's St John Passion...
0:00:03 > 0:00:07- ..was performed in its entirety - for the first time ever.
0:00:07 > 0:00:11- No fanfare, no premiere - in a grand theatre, no applause...
0:00:12 > 0:00:15- ..just the serenity - of a church service.
0:00:15 > 0:00:20- But this was one of the world's most - important pieces of classical music.
0:00:21 > 0:00:26- # Lord, Lord, Lord #
0:00:26 > 0:00:30- In this programme, - I reveal the piece's history...
0:00:30 > 0:00:34- ..and meet experts to discover - what makes this work so remarkable.
0:00:35 > 0:00:37- We revere this music, we love it.
0:00:37 > 0:00:40- We think it must have had - an incredible impact.
0:00:40 > 0:00:45- And we look back on two years' work - that realized a dream for me.
0:00:45 > 0:00:49- It's been a fascinating process. - It's a challenging work.
0:00:50 > 0:00:52- The hardest part - is telling the story.
0:00:53 > 0:00:55- Understanding it - and being a part of it.
0:00:56 > 0:01:00- It culminates with the first - Welsh language performance...
0:01:00 > 0:01:03- ..of the St John Passion - at Llandaff Cathedral.
0:01:05 > 0:01:07- Subtitles
0:01:09 > 0:01:13- Easter never passes nowadays without - my singing the St John Passion.
0:01:13 > 0:01:18- Performances to mark the festival - can be heard across the country.
0:01:18 > 0:01:22- But Bach didn't compose the work - for a concert.
0:01:22 > 0:01:24- # Jesus, Jesus #
0:01:25 > 0:01:28- He composed it - for a Good Friday service...
0:01:29 > 0:01:32- ..at his own church, - for his regular musicians.
0:01:33 > 0:01:38- People have long discussed how many - singers Bach would have had.
0:01:38 > 0:01:41- About 50 boys - at the school where he taught...
0:01:41 > 0:01:44- ..sang soprano, alto, - tenor and bass.
0:01:45 > 0:01:49- Every Sunday, regularly, - he'd have four choirs.
0:01:49 > 0:01:52- The first two choirs - would sing the harmonies...
0:01:52 > 0:01:56- ..and the other two, - what my father called growlers...
0:01:56 > 0:01:58- ..would sing the tune.
0:01:58 > 0:02:03- It was very much an everybody - has to do everything outfit.
0:02:04 > 0:02:07- You might find one day - that the second bassoon was missing.
0:02:07 > 0:02:10- He'd take one of his basses - and say, "You play bassoon."
0:02:11 > 0:02:15- In 2000, I toured with Sir John - Eliot Gardiner's Monteverdi choir...
0:02:16 > 0:02:19- ..singing every one - of Bach's 200-plus cantatas...
0:02:20 > 0:02:22- ..across Europe and the USA.
0:02:22 > 0:02:27- This was how I first came across - baroque music.
0:02:27 > 0:02:31- Before long, Bach's works - became my abiding interest.
0:02:31 > 0:02:35- I wanted to convey its passion - to my friends and family.
0:02:35 > 0:02:38- My favourite music - in my mother tongue.
0:02:38 > 0:02:44- # Dissolve, my heart
0:02:44 > 0:02:55- # In floods of tears
0:02:55 > 0:03:07- # To honour the Most High #
0:03:08 > 0:03:12- The St John Passion is a bit like - the central jewel of a necklace.
0:03:12 > 0:03:16- The pearls are there, the cantatas, - each week a new piece...
0:03:16 > 0:03:19- ..then the climax - being the St John Passion.
0:03:19 > 0:03:21- It's much longer, - nearly 100 minutes....
0:03:21 > 0:03:24- ..compared to the cantatas, - about half an hour.
0:03:25 > 0:03:31- Bach was master of music - at Leipzig's Thomaskirche.
0:03:31 > 0:03:33- He was appointed in 1723.
0:03:34 > 0:03:37- He would fill the role - for the next 27 years...
0:03:38 > 0:03:40- ..uuntil his death in 1750.
0:03:41 > 0:03:43- He was struggling all the time.
0:03:43 > 0:03:46- He didn't have the quality - he was looking for.
0:03:46 > 0:03:50- The headmaster wanted good - academics. He wanted musicians.
0:03:50 > 0:03:52- One of his duties every week...
0:03:53 > 0:03:57- ..was to compose religious pieces - for the church's services.
0:03:58 > 0:04:01- During Lent, - there was no music in the church.
0:04:01 > 0:04:04- They all rehearsed - the St John Passion...
0:04:04 > 0:04:06- ..Bach's Good Friday composition.
0:04:07 > 0:04:10- Bach intended to perform the work - at the Thomaskirche.
0:04:11 > 0:04:15- But at the last minute, - the board of music decided...
0:04:15 > 0:04:18- ..to perform it - at St Nicholas' Church.
0:04:18 > 0:04:23- Bach agreed, provided the church's - harpsichord would be mended first.
0:04:23 > 0:04:27- One of the only descriptions - we have of Bach performing...
0:04:27 > 0:04:29- ..a brilliant description.
0:04:29 > 0:04:33- If anything was missing, he would - lean over the keyboard player...
0:04:33 > 0:04:35- ..and start playing furiously.
0:04:35 > 0:04:39- He had rhythm in every muscle - of his body when he was conducting.
0:04:40 > 0:04:44- Bach always composed - for musicians he already had.
0:04:44 > 0:04:47- So, the orchestra required - is fairly small.
0:04:47 > 0:04:51- It calls for strings, - flutes and oboes...
0:04:51 > 0:04:55- ..and basso continuo, an organ - or harpsichord with a cello.
0:04:57 > 0:05:01- Bach also added some instruments - that were old-fashioned even then.
0:05:01 > 0:05:07- A lute, and an early version - of the modern cello, viola da gamba.
0:05:07 > 0:05:09- And, of course, the singers.
0:05:10 > 0:05:14- The Thomaskirche choir - was a small one.
0:05:14 > 0:05:19- It was important to keep the balance - between the voices and instruments.
0:05:19 > 0:05:22- But the chorus did more - than stand and watch.
0:05:22 > 0:05:26- They played the crowd - in the story's drama and tragedy...
0:05:26 > 0:05:29- ..and stepped out - to consider the events.
0:05:29 > 0:05:33- Bach drew his soloists - from his local church singers.
0:05:33 > 0:05:38- The Passion's drama is enlivened - by characters out of the story.
0:05:39 > 0:05:42- There are traditional soloists too.
0:05:42 > 0:05:47- The soprano and alto, myself - and Eirlys Myfanwy Davies...
0:05:47 > 0:05:49- ..tenor Gwilym Bowen...
0:05:49 > 0:05:54- ..bass-baritone Jeremy Huw Williams, - who plays Christ...
0:05:54 > 0:05:56- # Whom seek ye? #
0:05:56 > 0:06:00- ..and baritone Robert Davies - as Pontius Pilate.
0:06:00 > 0:06:04- Another tenor plays the Evangelist, - who tells the whole story.
0:06:05 > 0:06:08- He's a new young voice, - Rhodri Prys Jones...
0:06:08 > 0:06:12- ..a student at the Royal Welsh - College of Music and Drama.
0:06:12 > 0:06:17- I've been learning the part - over a period of almost four months.
0:06:17 > 0:06:22- It's the biggest part - I've had to learn in my career.
0:06:23 > 0:06:29- The Evangelist's role - has no even lines and arias.
0:06:29 > 0:06:33- It's all in a narrative form, - and it has been a difficult process.
0:06:34 > 0:06:39- It's such a huge part, especially - when combined with college work.
0:06:39 > 0:06:44- But I've drawn so much confidence. - from playing such a great part.
0:06:44 > 0:06:46- It'll be a big career boost.
0:06:46 > 0:06:53- # For Jesus oftimes resorted thither - with his disciples #
0:06:54 > 0:06:56- We have 28 singers.
0:06:56 > 0:07:02- The work requires a smaller choir, - and they've all sung for me before.
0:07:02 > 0:07:05- Eight sopranos, eight altos, - six tenors and six basses.
0:07:06 > 0:07:09- All those who sing for me - are good readers of music.
0:07:10 > 0:07:13- But I would say - that Bach and this work...
0:07:13 > 0:07:16- ..has been a major test - of just how good they are.
0:07:17 > 0:07:21- I'm sure the singers would agree, - it has been a challenge for us.
0:07:22 > 0:07:27- With Osian, we came in - and started working on the piece.
0:07:27 > 0:07:30- The notes and the words, - in the correct places.
0:07:30 > 0:07:34- Then Huw came in, and he's superb - at contextualizing the work.
0:07:34 > 0:07:36- Look at page five...
0:07:37 > 0:07:41- Huw Williams, - the Bath Abbey music director...
0:07:41 > 0:07:44- ..is an expert at performing - in the baroque style.
0:07:44 > 0:07:48- It's a technical challenge - because the music is difficult.
0:07:48 > 0:07:50- Some chorus parts are very hard.
0:07:51 > 0:07:54- Hardest of all is telling the story, - understanding it.
0:07:54 > 0:07:56- Being part of the story.
0:07:56 > 0:08:00- Classically, it's easy - to perform pieces correctly.
0:08:00 > 0:08:03- But understanding the story - is the next step.
0:08:04 > 0:08:08- The rehearsals are very interesting.
0:08:08 > 0:08:13- The context and the story - he conveys to us in rehearsals...
0:08:13 > 0:08:17- ..helps us to appreciate - Bach's composing, perhaps.
0:08:18 > 0:08:20- Nothing's there by mistake.
0:08:20 > 0:08:21- Why is that chord there?
0:08:22 > 0:08:23- Because the cross appears.
0:08:24 > 0:08:26- When that happens, it's more tender.
0:08:26 > 0:08:27- There are no mistakes.
0:08:28 > 0:08:31- When you perform Bach, - you'll always find nice parts.
0:08:31 > 0:08:36- # Lord, Lord, Lord
0:08:37 > 0:08:41- # Our Master #
0:08:42 > 0:08:44- Who knows what the ideal choir is.
0:08:44 > 0:08:48- For Bach, some say - that it's one singer per voice.
0:08:48 > 0:08:52- But I think that this choir, - of about 30, is ideal for me.
0:08:52 > 0:08:53- Not so hard.
0:08:54 > 0:08:56- # Lord, Lord #
0:08:57 > 0:09:00- Of the choir members, - some are native Welsh speakers...
0:09:01 > 0:09:05- ..some have learnt Welsh - and a few aren't from Wales.
0:09:05 > 0:09:10- In their case, the language may be - a greater challenge than the notes.
0:09:10 > 0:09:14- It's so difficult sometimes - to sing a lot of notes...
0:09:14 > 0:09:16- ..and to hear the tune.
0:09:16 > 0:09:22- The notes, the instruments playing - and the words all go together.
0:09:22 > 0:09:25- Everything in the piece - has a purpose.
0:09:26 > 0:09:30- If you sang an opera or acted - in a theatre, you'd be a part of it.
0:09:30 > 0:09:33- But we tend to stand away - in the classical world.
0:09:34 > 0:09:37- If we fulfil that aim, - we'll have succeeded.
0:09:37 > 0:09:42- My first experience of singing Bach - was with the Swansea Bach Choir...
0:09:42 > 0:09:44- ..conducted by John Hugh Thomas.
0:09:44 > 0:09:45- Hello. Come in.
0:09:45 > 0:09:47- Hello. Come in.- - Hello. Are you alright?
0:09:47 > 0:09:48- It's nice to see you.
0:09:48 > 0:09:52- It seems that performing the Passion - of St John on Good Friday...
0:09:52 > 0:09:54- ..was traditional by Bach's day.
0:09:55 > 0:09:58- Even in the 5th century, - Pope Leo I insisted...
0:09:58 > 0:10:02- ..on an interpretation - of the Passion during Easter week.
0:10:03 > 0:10:05- When Bach composed his version...
0:10:05 > 0:10:08- ..he was stepping - into a tradition of drama...
0:10:08 > 0:10:10- ..and an established form.
0:10:10 > 0:10:15- These are some early arrangements.
0:10:15 > 0:10:19- Arrangements of the Passion, - but before Bach.
0:10:19 > 0:10:21- Long before Bach.
0:10:21 > 0:10:22- At least a century.
0:10:22 > 0:10:28- As was the tradition then, - there were no instruments at all.
0:10:29 > 0:10:32- Even the organ - wasn't played at Easter.
0:10:32 > 0:10:33- Wasn't it really?
0:10:33 > 0:10:35- No, there was no accompaniment.
0:10:36 > 0:10:39- After years - of singing the St John Passion...
0:10:39 > 0:10:43- ..in the original German - and in English, I had an idea.
0:10:43 > 0:10:46- Why not translate this masterpiece - into Welsh?
0:10:46 > 0:10:49- About February 2016...
0:10:50 > 0:10:54- ..I got a note from Elin, - who does email me from time to time.
0:10:55 > 0:11:00- This time, she asked me - to take a glance at it.
0:11:00 > 0:11:03- Of course, the script came.
0:11:03 > 0:11:09- I soon saw that this wasn't going - to be a quick job, or an easy one.
0:11:10 > 0:11:15- The job expanded - beyond a couple of weeks' work.
0:11:15 > 0:11:19- It lasted from February - through to September.
0:11:20 > 0:11:21- Six or seven months' work!
0:11:22 > 0:11:27- # Release unto you - the King of the Jews? #
0:11:27 > 0:11:30- # Then cried they all again, - saying #
0:11:31 > 0:11:36- # Not this man, but Barabbas!
0:11:36 > 0:11:39- # Not this man, but Barabbas!
0:11:39 > 0:11:41- # Barabbas! #
0:11:41 > 0:11:46- Bach based his work on chapters 18 - and 19 of St John's Gospel...
0:11:47 > 0:11:49- ..following the Lutheran Bible.
0:11:50 > 0:11:55- The Evangelist follows the words - of the Bible throughout the work.
0:11:55 > 0:11:59- Bach also used familiar hymns - for his chorales...
0:11:59 > 0:12:04- ..and poetry from various sources - for the solos and the chorus.
0:12:05 > 0:12:15- # The grave - that is prepared for you
0:12:16 > 0:12:24- # And holds no further distress
0:12:25 > 0:12:30- # Opens heaven for me
0:12:31 > 0:12:35- # And shuts the gates of hell #
0:12:35 > 0:12:39- It's the play that has the greatest - impact in the St John Passion.
0:12:40 > 0:12:43- The way that Bach - set out the words is remarkable...
0:12:43 > 0:12:46- ..when you think - it's a religious work...
0:12:46 > 0:12:49- ..a work meant for the church - and for services.
0:12:50 > 0:12:51- It isn't an anthem.
0:12:52 > 0:12:55- It's not a soothing report - of Christ's final days...
0:12:55 > 0:12:57- ..with the odd tuneful hymn.
0:12:58 > 0:13:01- This is an opera oratorio - that grips your emotions...
0:13:02 > 0:13:05- ..with its drama, its tension - and its eternal message.
0:13:06 > 0:13:30
0:13:33 > 0:13:34- .
0:13:36 > 0:13:36- Subtitles
0:13:36 > 0:13:38- Subtitles- - Subtitles
0:13:39 > 0:13:45- Bach apparently revamped his work - numerous times during his lifetime.
0:13:45 > 0:13:49- But he ultimately returned - to the original 1724 version.
0:13:50 > 0:13:51- Great to see you.
0:13:52 > 0:13:55- A true authority on Bach - is my old friend and co-worker...
0:13:55 > 0:13:59- ..the world-famous conductor, - Sir John Eliot Gardiner.
0:14:00 > 0:14:02- He believed in that first version...
0:14:02 > 0:14:06- ..which I believe - is the one you're performing.
0:14:06 > 0:14:07- Then it was dropped.
0:14:07 > 0:14:11- Nobody performed it - until Mendelssohn in 1833.
0:14:11 > 0:14:14- He'd just done - the St Matthew Passion in 1829.
0:14:14 > 0:14:18- People said at the time that - it wasn't as good as St Matthew.
0:14:18 > 0:14:23- Then along comes Robert Schumann - and performs the St John in 1851.
0:14:23 > 0:14:27- "This is the piece - it's so much better, more concise.
0:14:27 > 0:14:31- "It packs a stronger punch, - it's the one I love."
0:14:31 > 0:14:33- He's not writing an opera.
0:14:33 > 0:14:37- What he does - is something much, much harder...
0:14:37 > 0:14:40- ..but also much more brilliant, - in my view.
0:14:40 > 0:14:44- He combines a work - which is to edify and encourage...
0:14:44 > 0:14:47- ..the religious response - of his listeners...
0:14:47 > 0:14:51- ..with an incredibly good - storytelling element to it.
0:14:51 > 0:14:53- The narrative is the key.
0:14:53 > 0:14:57- The St John account of the Passion - story is incredibly gripping.
0:15:00 > 0:15:02- # Whither will you fly now?
0:15:03 > 0:15:06- # Where shall I find comfort?
0:15:07 > 0:15:10- # Where shall I find comfort? #
0:15:10 > 0:15:15- He became interested in the original - style of performing the music.
0:15:15 > 0:15:19- This meant playing instruments - from the 18th century...
0:15:19 > 0:15:24- ..using gut strings and woodwind - instruments specific to the time.
0:15:24 > 0:15:28- The sound - created by these instruments...
0:15:28 > 0:15:32- ..combined with a lighter, - livelier orchestral style...
0:15:32 > 0:15:34- ..gives us an insight...
0:15:34 > 0:15:40- ..into how similar pieces of music - would have sounded in Bach's time.
0:15:41 > 0:15:43- It was fairly straightforward...
0:15:43 > 0:15:47- ..to get a violin to sound - as it did at that time.
0:15:47 > 0:15:50- Getting rid of the modern strings.
0:15:50 > 0:15:52- But the woodwind instruments...
0:15:52 > 0:15:55- ..had to be recreated.
0:15:55 > 0:16:00- They had to go - into a museum in Vienna, say...
0:16:00 > 0:16:03- ..borrowing a few exhibits...
0:16:03 > 0:16:06- ..measuring them in great detail...
0:16:06 > 0:16:11- ..and creating new instruments - based totally on the originals.
0:16:11 > 0:16:15- What's the effect of performing - with a baroque pitch...
0:16:15 > 0:16:18- ..and with original instruments?
0:16:18 > 0:16:21- I think it's very similar...
0:16:21 > 0:16:25- ..to cleaning old oil paintings.
0:16:25 > 0:16:26- Yes.
0:16:27 > 0:16:30- When they have lost - their colour completely.
0:16:30 > 0:16:33- They're more or less - completely black.
0:16:33 > 0:16:38- When they are cleaned, - the effect is exactly like that.
0:16:38 > 0:16:41- The instruments are much clearer.
0:16:41 > 0:16:43- The balance is better.
0:16:43 > 0:16:44- They're more distinct.
0:16:44 > 0:16:47- And the way of playing them changes.
0:16:48 > 0:16:52- People read old books - and bring back the original style.
0:16:52 > 0:16:54- That gives a wonderful effect.
0:16:55 > 0:16:58- What you gain - by using historical instruments...
0:16:58 > 0:17:01- ..is a much more equal balance - between them.
0:17:01 > 0:17:05- A modern trumpet - is much louder than an oboe...
0:17:05 > 0:17:08- ..and an oboe - is louder than a violin.
0:17:08 > 0:17:11- But in the baroque style, - the balance is better.
0:17:11 > 0:17:15- That can hear the sound - that Bach himself would have heard.
0:17:16 > 0:17:21- # I too follow thee - with joyful steps
0:17:25 > 0:17:30- # I too follow thee - with joyful steps #
0:17:30 > 0:17:34- This scrapbook - is full of old programmes.
0:17:35 > 0:17:36- They go back a bit.
0:17:36 > 0:17:38- They go back a bit.- - What's so important here?
0:17:38 > 0:17:41- A bit of everything, from the start.
0:17:41 > 0:17:43- "A moving account - of St John Passion."
0:17:43 > 0:17:49- The first baroque-style performance - in Wales of Johannes-Passion.
0:17:49 > 0:17:51- At St Mary's Church, Swansea.
0:17:51 > 0:17:53- At St Mary's Church, Swansea.- - "A memorable Passion." Great.
0:17:55 > 0:18:00- Almost two years ago, I set about - translating the St John Passion.
0:18:00 > 0:18:03- After setting the framework...
0:18:03 > 0:18:07- ..I worked with an expert - in German-Welsh bilingualism...
0:18:08 > 0:18:09- ..Heini Gruffudd.
0:18:10 > 0:18:12- Fortunately, I sang this piece...
0:18:13 > 0:18:17- ..with the Swansea Philharmonic - Choir a few years ago.
0:18:17 > 0:18:20- I was familiar with it, - which helped.
0:18:20 > 0:18:22- But, going forward, I realized...
0:18:22 > 0:18:25- ..with regard to the recitatives...
0:18:25 > 0:18:30- ..it would help if they were - as similar as possible...
0:18:30 > 0:18:31- ..to the Welsh Bible.
0:18:32 > 0:18:35- The next problem was deciding - which Welsh translation.
0:18:36 > 0:18:38- The latest beibl.net version...
0:18:39 > 0:18:44- ..was a far cry from what would be - familiar to any congregation.
0:18:44 > 0:18:47- I eventually opted - for a 1980s translation.
0:18:47 > 0:18:50- That's widely used these days.
0:18:50 > 0:18:54- The difficulty was - that the German version...
0:18:54 > 0:18:58- ..followed the Bible - very, very closely.
0:18:58 > 0:19:02- As a result, I felt - that we had to try to do the same.
0:19:02 > 0:19:06- That meant the rhythms - were slightly different...
0:19:06 > 0:19:09- ..so we had to adapt - Biblical verses...
0:19:09 > 0:19:14- ..to fit the rhythm of the music - as closely as possible.
0:19:17 > 0:19:19- Aria 30, if you have a copy.
0:19:20 > 0:19:23- I've got it here.
0:19:23 > 0:19:26- The German goes, - "Es ist vollbracht."
0:19:26 > 0:19:29- It's in verse 30.
0:19:30 > 0:19:31- Yes. "Cyflawnwyd."
0:19:32 > 0:19:37- "Cyflawnwyd" is perfectly correct, - but in the Welsh Bible...
0:19:37 > 0:19:41- ..and what people - would be familiar with...
0:19:41 > 0:19:43- ..is "Gorffennwyd."
0:19:43 > 0:19:49- Hearing that would tell them where - they are as regards the Bible text.
0:19:49 > 0:19:55- But the problem is, the emphasis - is at the end in the German...
0:19:55 > 0:19:59- ..and on the penultimate syllable - in Welsh.
0:19:59 > 0:20:02- I'd suggest "Gorffennwyd hyn."
0:20:02 > 0:20:04- "Gorffennwyd hyn."
0:20:04 > 0:20:06- Then the emphasis is the same.
0:20:07 > 0:20:08- Great.
0:20:08 > 0:20:12- Mull over that - and I'll send you a copy.
0:20:12 > 0:20:16- If you want to change anything, - that won't be a problem.
0:20:16 > 0:20:19- Thank you. Take care. Ta-ra, Heini.
0:20:28 > 0:20:34- # It is finished!
0:20:38 > 0:20:44- # It is finished! #
0:20:44 > 0:20:48- At the end of the process, - two years down the line...
0:20:48 > 0:20:53- ..I hope that we can all appreciate - this extraordinary work.
0:20:53 > 0:20:55- By understanding every word...
0:20:55 > 0:20:59- ..we can experience - the story's drama and message...
0:20:59 > 0:21:02- ..with the most emotional music - ever written.
0:21:04 > 0:21:08- The small baroque orchestra - produces a different sound.
0:21:08 > 0:21:12- It affects the balance - and the acoustics.
0:21:12 > 0:21:14- It's quite an experience.
0:21:14 > 0:21:17- There's so much variety in the work.
0:21:17 > 0:21:19- The chorales are wonderful.
0:21:19 > 0:21:21- They might sound easy...
0:21:21 > 0:21:26- ..but actually singing them - with feeling and with meaning...
0:21:26 > 0:21:30- ..is harder than it might - come across to the audience.
0:21:30 > 0:21:33- Some of the choruses - are fairly challenging.
0:21:33 > 0:21:37- One in particular - needs more homework by me!
0:21:37 > 0:21:38- Counting.
0:21:38 > 0:21:41- Counting.- - Yes, we have to count a lot.
0:21:41 > 0:21:46- The variety is a challenge, - but it's great to sing.
0:21:47 > 0:21:49- It's fairly modern for Bach.
0:21:49 > 0:21:50- The rhythms are jazzy.
0:21:50 > 0:21:53- You have to count off the beat, - which is hard.
0:21:54 > 0:22:02- # Hasten, hasten, hasten - to Golgotha! #
0:22:02 > 0:22:05- The story is really clear.
0:22:05 > 0:22:10- The way that Elin and Heini - have written the translation...
0:22:11 > 0:22:15- ..fits the music and vowels, - which is a challenge in itself.
0:22:15 > 0:22:18- I hope - that we have created a text...
0:22:18 > 0:22:21- ..which is fairly familiar - to the audience...
0:22:22 > 0:22:26- ..but which is also fairly singable.
0:22:31 > 0:22:32- Well, dear me.
0:22:33 > 0:22:34- It looks substantial.
0:22:36 > 0:22:37- Well, well, well.
0:22:37 > 0:22:43- It's great to see the fruits - of months of hard work.
0:22:43 > 0:22:45- I'm really looking forward...
0:22:46 > 0:22:50- ..to hearing the choir - and Elin performing it.
0:22:50 > 0:22:51- Absolutely brilliant.
0:22:52 > 0:22:53- Excellent.
0:22:54 > 0:22:55- Excellent.
0:22:55 > 0:22:58- At long last, - after all the hard work...
0:22:58 > 0:23:01- ..Johann Sebastian Bach's - St John Passion...
0:23:01 > 0:23:03- ..can be seen and heard in Welsh.
0:23:04 > 0:23:06- We can follow Christ's story...
0:23:06 > 0:23:11- ..in an interpretation that will be - a feast of inspirational music.
0:23:39 > 0:23:42- S4C Subtitles by Testun Cyf.
0:23:42 > 0:23:43- .